Naergi's Costuming Site

When planning the forepart, I already knew that I had to make something really, really nice – because, let’s face it, the rest of the gown is rather plain for a coronation gown… First I wanted to use a plain fabric and over and over embroider it with Tudor roses in gold. But then I […]

– Edited to add: During to a flood that hit my house, the fabrics and partially completed costume parts were destroyed. So until I decide to actually redo everything with new fabrics, the pages for this gown only serve as a documentation and memory of what I made; not as a dress diary. The first […]

Making of the bodice Well, not much to say… I’ve just started making it with the ‚Lady’s wardrobe‘ patterns by Margo Anderson. Here are a few pictures of the first test fitting: Back of the bodice lining, pinned together. It’s a bit too long – which I did intentionally, so I will have a longer […]

Navigation for this site: (it’s best to read the entire page from top to bottom, though) Introduction • Tudor Rose Brocade Sources &   Introduction This dress is probably one of the quickest ever put together (at least of my gowns on this site). It’s probably also the gown for which I didn’t touch the […]

Navigation for this site: (it’s best to read the entire page from top to bottom, though) Study of the portrait gown • Study of the movie costume Differences between portrait gown and movie costume How I want to make my gown &   When I had the gown on my planning site, I wrote: I […]

I made the sleeves from the same fabric as all other parts of the gown. When I was decorating the forepart, I thought that I had to match the sleeves to this extremely decorated piece of clothing, this is why I have decorated the upper, outer sleeves with: about 50 rhinestones in various shapes and […]

The doublet was made the same way as the bodice. First, the lining, made of two layers of herringbone weave linen…: …then the outer shell of the doublet, sewn to the lining…: …and afterwards, hemming the sleeves holes down and adding hooks, eyes and a placket to the front.

Janet Arnold describes in Patterns of Fashion that… „Under (the overdress) was (at the point when the tomb was opened in 1857) another of (…) crimson velvet (…). (…) There is no trace of a skirt (now) for the crimson velvet bodice (…). The velvet bodice fastens at the front with hooks and eyes (…). […]

The slashed gown of Isabel de Valois – Edited to add: During to a flood that hit my house, the fabrics and partially completed parts of this costume were destroyed. So until I decide to actually redo everything with new fabrics, the pages for this gown only serve as a documentation and memory of what I […]

In case you came here looking for the fabric that you can see on the skirt in the portrait: I have made a reproduction of that fabric available here on Spoonflower. And in case you’re generally interested in Tudor / Elizabethan reproduction fabrics, browse my Medieval / Renaissance / Tudor / Elizabethan design collection on […]